I initially undertook a practical experiment of an audiences emotional response to an audio/visual short film made by myself. The film was designed as an unbiased approach to evoke and then uncover the visible emotions apparent from the audience whilst watching the film. On separate occasions, I showed the video to four individuals providing them with no description or concept and asked those people to describe how the video made them feel. Feedback indicated that the video gave the viewer feelings of nervous anticipation, but when the clip of the flower appeared there was a sense of glimmering positive relief. The use of reverberation and ambiguous sound recordings paired with glitching techniques and selective cutting was used as an attempt to generate an emotional response from each individual viewer, if any.
The video cut to the image of a flower to inject a small sense of relief but not loose the ambiguity of the video. I adjusted colour grading, light intensity and the speed of the footage, accompanying these visual techniques with augmented lower pitched sound and glittery higher pitched counter ornamental sounds. These techniques were used in an attempt of generating the specific emotion of positivity within the audience. The sound was taken from the surrounding sounds that could be heard whilst filming, the recordings where deconstructed and the sound was composed in a way that could change the atmosphere of the accompanying visuals, which this paper will investigate further in regards to descriptive sound.
Initial interest in audio visual relationship focusing on music video art:
I began the practical investigation by looking into the art of music videos, I wanted to look at current music videos and compare them to music videos from the Seventies, as this is said to be the most influential decade in the western popular music industry. Developing in this decade was Rock ‘n’ Roll with diverse influences coming from all round the globe; Poprock, Krautrock, Glamrock and other subgenres; some, more Avent Garde, short lived subgenres like the Zodiac scene and Kosmische Musik for example.
From watching music videos through the eras that I found more of the visuals accompanying Electronic Music bands were visual representations of the music. ‘Klopfzeichen P.2’ was a record produced by German industrial electronic band Kluster, which had an accompanying music video that was a visual description of the record. The ambiguous shapes, the slow unpredictable movement and the use of colour change all contribute to the synthesised quality of sound and vision. I found this different to modern music videos of western popular music today. For example taking a current popular artist Taylor Swift’s record ‘You Belong With Me’ which is a narrative video based on the lyrical aspect of the record instead of the sonic values of the song.
I was interested in the popular artist Lana Del Rey, I appreciated the authentic, dated aesthetic of her music videos and found her an interesting artist to investigate because although she is what may be considered a mainstream artists, a lot of her music is heavily influenced by the underground subgenres Kosmische Music and Psychedelic Rock which are genres of music influential to Krautrock.
Initially her videos were made from a collection of vintage footage taken from archives and set to classical music that she felt described the footage appropriately. Del Rey originally called Elizabeth Woolridge Grant, was creating different atmospheres and stories through combining moving image and sound effectively and using them as a descriptive medium. This technique and the information I had been researching about Musique Concrete and Krautrock inspired me to begin an investigation into designing specific atmospheres through the combination of audio and visuals.
Research and Idea development for Lupus video.